Aqui é o Meu Lugar

It took quite a while until this movie comes to the US, I do not know why it took so long, yet I hope it gets the response it deserves (I saw it in Europe months ago already).

Sean Penn is just amazing and the whole movie is something you don't see much in US cinemas. Its so different that there is almost no comparison. Of course it will be a big hit within the Gothic scene, but also the regular movie fan should give it a try. Its very slow paced road trip, but Penn carries that overwhelmingly with his outstanding performance of the character, who reminds of course of Robert Smith, but in a superb way. The story is very simple and so I leave that totally out, since it would spoil it right away.

My favorite scene is when he visits the show from David Bryne playing "This must be the place", keep it in mind and enjoy the show! Its certainly an experience for real movie fans!

(That it won't be a huge box office hit, most likely, should not hold anybody back who wants to see a good movie!)

This film has beautiful performances and words - it's the moments that end up holding the most merit. Otherwise, a lot of it is lost on a practical level. For example, I didn't understand most of the characters' relationships on a completely literal level. How were Mary and her mother related to Cheyenne? What did Mary say in the first scene at the mall coffee shop? Between the unintelligible way they spoke and the (refreshing) non-expositional quality of the movie, you just have to take it as it comes. Much of the dialogue is poetic and nuanced, the performances from each actor are strong, and the photography is fun. I found it to be poetic and wonderful despite its befuddling aspects.

Is there a role which eludes Sean Penn? In Italian director Paolo Sorrentino's English-language debut following his 2008 Cannes hit 'Il Divo', the two-time Academy Award winner takes on an unlikely comedic role as an over-the-hill pop star named Cheyenne and pulls it off with aplomb. Indeed, even though the movie never does quite come together as a cohesive whole, Penn's brilliant performance more than anchors the entire film, and you'll find yourself hard-pressed to take your eyes off him.

To say that Penn owns the entire movie is not an overstatement- right from the start, Penn mesmerises with a bizarre get-up consisting of a jet-black fright wig and all-black lipstick and eyeliner even in the comfort of his own sprawling home. As is typical of such characters, Cheyenne suffers from depression, and besides doing the groceries while his fireman of a wife (Frances McDormand) is off at work, spends most of his time in the day hanging out with a spunky teen Mary (Eve Hewson) at a café in a shopping mall.

Purpose is what is lacking in his life- haunted by the suicide of two brothers who said they were inspired by his lyrics, Cheyenne has not been able to return to his music since. For the first half hour, Sorrentino familiarises his audience with the idiosyncrasies of his lead character as well as his marriage with his wife Jane, and thanks to an empathetic performance by Penn, your heart will go out to this lost soul searching for that elusive thing called meaning. It is testament to Penn's flawless performance that you'll still feel the warmth and heart behind his character's eccentricities.

Cheyenne awakens from his stupor when he gets news that his father is dying and promptly makes the travel by cruise- because of his fear of flying- to New York. Unfortunately, he arrives too late, missing the very last opportunity to connect with the father he has not spoken to in years. So when his cousin Richard (Liron Levo) informs him that his dad was obsessed with tracking down a Nazi war criminal at Auschwitz named Aloise Lange (Heinz Lieven), Cheyenne takes it upon himself to complete his father's mission.

And so begins a road trip across the United States, each pit-stop in Michigan, New Mexico and finally Utah offering memorable encounters with locals that in their own way serve to give him closure and reconciliation. Mirroring Cheyenne's own inner transformation, Sorrentino adopts a measured pace as Cheyenne meets a history teacher (Joyce Van Patten), a war widow (Kerry Condon), his dad's fellow Nazi hunter Mordecai Midler (Judd Hirsch) and finally of course Lange himself. Less patient viewers will probably be frustrated, but those willing to accept the laid-back tone of the film will find Cheyenne's journey a rather therapeutic one- especially in its closing lesson on the importance of learning to let go of the past.

Sorrentino, who co-wrote the script with Umberto Contrarello, also lightens the mood of the film with some well-placed deadpan humour, delivered with panache by Penn. A scene where Cheyenne meets a gaggle of women in the lift discussing which brand of lipstick is best and finally gives them due advice just to shut them up is sharply hilarious, while his well-meaning attempt at match-making Mary with an earnest shopping mall staff proves sweet and amusing. But through the varying types of humour, it is Penn's unpretentious acting that makes them work- with a recurring gesture of Penn casually blowing a wisp of hair falling across his face perhaps the most consistently delightful narrative device. Among his co-stars, McDormand shines in her role as Cheyenne's wife, and a sequence where she is practising tai-chi in her lawn while distracted by her husband in the upper window one of the best moments in the film.

For rock fans, the participation of David Bryne is no doubt a highlight in itself, and Sorrentino pleases his fans with an extended concert scene that has the rock star performing the title song of the film while a woman in a room that reflects a period setting floats above the crowd. Nonetheless, for us cinephiles, the delight is in watching Sean Penn take on an unlikely comedic role in spite of his dramatic credentials. If it isn't yet apparent, we'll say it again- Penn's flawless performance is good enough reason to visit this place, and it's one that is warm, touching and unexpectedly affecting.

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Premises are interesting. I would always watch a movie about/focused on the life of a retired/depressed rock star, factual or fictional... And indeed, Penn delivers a somewhat convincing performance as (Robert Smith-inspired?) Cheyenne (poor choice of pseudonym, if you ask me, but hey, there's also a band called "The Pieces of Sh*t", so)...

The problem is: that annoying voice!, and... Well, everything else. This is a pretty boring film, overall. Frances wasn't convincing, nor was anybody else besides Sean.

Sure, there are funny parts, but they're not enough to prevent the yawns, or fight the desire of doing something else during most part of it.

My 5/10 is strictly because of Penn's genius, indeed one hell of an actor, but he deserved a better script and a better... Well, everything.

Honorable mention to the David Byrne/Will Oldham teaming up to perform a satisfying soundtrack, especially the main track "Lay & Love", excellent in my opinion.

If you come up with a complicated and quirky plot, there is almost no way to avoid people accusing you of trying too hard to be "indie." The core of this plot is a good one, although it's hampered by throwing too many ingredients in the soup. Hence, like other reviewers, I too will accuse the makers of trying a bit too hard. But I appreciate the originality of the plot.

I've noticed that most small films tend to focus on depressed or outsider type people. I'm guessing that's because the people who make them are that way. But it would be nice once in a while to see a small film about essentially happy people growing in some way, or overcoming an obstacle.

If you took a bunch of drugs, you haven't worked in 20 years, you live in a dreary place, and you're going through a midlife crisis, you would move and talk slowly and perhaps softly. Also, if you were a cross dresser, you might speak with an effeminate voice. So i get all that. But the mumbling aspect was a bit much. Unless you want to interpret that a guy who made millions from his voice, is now crippled in the voice. The mumbling was my biggest complaint. Even if he had cranked it up a tiny notch, I would have been satisfied.

I think the sex scene was put in there specifically to justify why a woman would stay with such a loser for so long. Make no mistake about it. This guy is a loser. His awareness of that fact is the main source of his depression.

What I liked about the plot was the idea of needing a purpose or mission to get yourself out of a funk or grow up. But having his dad be American and orthodox Jewish is a shock to the system. There were no previous references to his even being American, and none about growing up as an orthodox Jew. Wouldn't you see some vestiges of Jewishness at his house, or in his mannerisms or conversation?

As other reviewers mentioned, it was clear that he had no real interest in the Holocaust or his dad's history. He just felt remorse at not giving his father a chance. Couple that with needing a purpose and you have his mission.

Most of the people he interacted with in small town America were not random. They were family members of the Nazi he was hunting or knew something about him. But we did get a little slice of American life in the process. Although here's a tip to non-American indie film enthusiasts. Not all Americans are quirky. Many just work, live, love, pray, volunteer, serve, and laugh.

This guy was always about depression and regrets, but never about rage. So it's no surprise that he had no rage for the Nazi. Another person might have, because although the humiliation he caused his father was relatively mild, he was still involved with slaughter.

I'm OK with the subplots about the woman with a missing son and the Gothic teen. It makes sense. The girl was the type he would have hung out with in his own teens and he was basically stuck at that stage of life. Meanwhile the woman's son apparently skipped town the way our main character had years ago.

I love the Talking Heads song. So I certainly appreciate the idea of building a story around it. "Home, this must be the place." You could say that our protagonist was searching for a home in this world his whole life.